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Paintings conservator Michael Gallagher talks about the appeal of technical virtuosity.
I'm Michael Gallagher. I'm in charge of painting conservation here at the Museum. What I'd like to talk about is virtuosity...
virtuosity being a display of skill, of brilliance. In acting, music, singing, sport
even, I've always been attracted to the people who can take something to another level.
I find great museums and art galleries almost as a type of theatre.
I don't like to think of them as treasure houses. I think if you go in with the right attitude, it is an interactive experience looking at an object.
There are examples where simple displays of skill become a little empty,
but sometimes, the celebration of the skill and its display takes the object to another level and is intrinsic to its meaning.
This helmet of the 16th century is intended to be a show piece. It wasn't what some soldier popped on to go off to war.
It's celebratory of his skills, it's also celebratory of a certain militarism. There's something wonderfully operatic about the whole thing.
For me, the Studiolo is particularly compelling. I think you are very aware that this is not just skillful decoration.
The warmth of the wood, the
wonderfully composed and naturalistic
niches full of objects and it's the amazing skill
in creating this naturalism in a highly artificial way. And you could have painted that room, but where would've been the fun in that, when could kill yourself creating it out of fruit woods.
This was one of the very first paintings I worked on when I came to the Museum. I find it incredibly beautiful. It does display a bravura technique.
It's not about naturalism. He would of had no problem describing the anatomy of a woman, but no one has a shoulder like that. And when you get in close
he uses this little tiny highlight on the nose and then the lip and then the chin and then there's a little set of swatches of pale pink on the cheek to describe the quality of light on the face. It's like a virtuoso musical performance
where the ability to throw in that extra at the right moment turns the painting into poetry.
I'm not alone in finding this one of my favorite objects. There's not much of it. It's very clearly and brutally a fragment and just being left with the lips, it's an impossibly sensual object. This uncompromising yellow and the skill of the sculptor working stone to this degree is utterly amazing.
The earthenware, Figure of a female dancer, through the skill of the artist, materials are transformed.
Even if you'd never seen representations of that form of dance, you would sense something courtly, slow, unbelievably elegant, and the contrast between simplicity of the material representing very, very simply but really quite magically, silk garments.
The head of a king from the 4th century Iran commands a sort of interaction. It speaks of kingship, of control, of something superhuman, and the skill in creating it makes it relevant today.
One of the great privileges of being a painting conservator is the intimacy that is a natural part of what we do. You have to look at it very closely as a work of art and to let it speak to you in those terms. This painting by Velázquez, it has an honesty that is really striking.
It's very much an interrogation. The sense of a slightly moist skin and there's a sort of vein running under the forehead. Because you have that extraordinary facility in the handling of paint it almost seems self-evident.
I think there has to be some connection beyond mere facility to take the object somewhere else in terms
of poetry and artistry.
Works of art in order of appearanceLast Updated: June 22, 2015. Not all works of art in the Museum's collection may be on view on a particular day. For the most accurate location information, please check this page on the day of your visit. |
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Bust of Alexander Menshikov (ca. 1670–1729) ca. 1703–4 Swiss, Austrian, or German artist (active Russia) Red pine (pinus sylvestris), wrought iron Wrightsman Fund, 1996 (1996.7) More information: The Collection Online Not on view
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European Sculpture and Decorative ArtsFirst Floor | |
Krishna Killing the Horse Demon Keshi Gupta period, 5th century India (Uttar Pradesh) Terracotta Purchase, Florence and Herbert Irving Gift, 1991 (1991.300) More information: The Collection Online Not on view
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Asian ArtSecond Floor | |
Statuette of a veiled and masked dancer 3rd–2nd century b.c.; Hellenistic Greek Bronze Bequest of Walter C. Baker, 1971 (1972.118.95) More information: The Collection Online Not on view
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Greek and Roman ArtFirst Floor and Mezzanine | |
Secretary ca. 1776 Attributed to Martin Carlin (French) Paris Oak; tulipwood, purplewood, holly, and sycamore veneer; porcelain and tôle painted to imitate porcelain; gilt bronze Gift of Mr. and Mrs. Charles Wrightsman, 1976 (1976.155.110) More information: The Collection Online Not on view
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European Sculpture and Decorative ArtsFirst Floor | |
Madame X (Madame Pierre Gautreau) 1883–84 John Singer Sargent (American) Oil on canvas Arthur Hoppock Hearn Fund, 1916 (16.53) More information: The Collection Online Not on view
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American Paintings and SculptureFirst and Second Floors | |
Burgonet 1543 Made by Filippo Negroli Italian (Milan) Steel, embossed and damascened with gold Gift of J. Pierpont Morgan, 1917 (17.190.1720) More information: The Collection Online Not on view
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Arms and ArmorFirst Floor | |
Studiolo from the Ducal Palace in Gubbio 15th century (ca. 1479–82) Possibly designed by Francesco di Giorgio Martini (Italian, Sienese); Executed by Giuliano da Maiano (Italian) Made in Gubbio, Italy Walnut, beech, rosewood, oak, and fruitwoods on walnut base Rogers Fund, 1939 (39.153) More information: The Collection Online Not on view
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European Sculpture and Decorative ArtsFirst Floor | |
The Penitent Magdalen ca. 1750 Corrado Giaquinto (Italian) Oil on canvas Purchase, Mr. and Mrs. Mark Fisch Gift, in honor of Keith Christiansen, 2006 (2006.54) More information: The Collection Online Not on view
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European PaintingsSecond Floor | |
Fragment of the face of a queen New Kingdom, Amarna Period, Dynasty 18, reign of Akhenaten, ca. 1353–1336 b.c. Egypt, Middle Egypt, el-Amarna (Akhetaten); inc. el-Hagg Qandil Yellow jasper Purchase, Edward S. Harkness Gift, 1926 (26.7.1396) More information: The Collection Online Not on view
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Egyptian ArtFirst Floor | |
Female Dancer Western Han dynasty, 2nd century b.c. China Earthenware with slip and pigments Charlotte C. and John C. Weber Collection, Gift of Charlotte C. and John C. Weber, 1992 (1992.165.19) More information: The Collection Online Not on view
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Asian ArtSecond Floor | |
Head of a king 4th century; Sasanian period Iran Gilded silver Fletcher Fund, 1965 (65.126) More information: The Collection Online Not on view
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Ancient Near Eastern ArtSecond Floor | |
Portrait of a Man ca. 1630 Diego Rodríguez de Silva y Velázquez (Spanish) Oil on canvas The Jules Bache Collection, 1949 (49.7.42) More information: The Collection Online Not on view
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European PaintingsSecond Floor | |
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